THEAT

RE THE

1

FOUNDED AS THE GOODMAN SCHOOL OF DRAMA IN 1925 The School is a member of the League of , Arts Alliance, ASSITEJ/USA, American Alliance for Theatre and Education (AATE), USITT, and the Illinois Alliance for Arts Education.

ADMINISTRATION JOHN CULBERT, M.F.A. Dean

JOHN BRIDGES, M.A. Director of Administration and Assistant Dean

LESLIE SHOOK, M.A. Theatre Manager

ANASTASIA GONZALEZ Budget Manager/Administrative Assistant to the Dean

JASON BECK, B.F.A. Director of Admissions

LARA GOETSCH, B.S. Director of Marketing and Public Relations

TESSA CRAIB-COX Director of Development

GENERAL INFORMATION THE THEATRE SCHOOL 251 hen The Theatre School was founded in 1925 at The Art Institute of Chicago, it was called the Goodman School of Drama. By all measurements the school is stronger now Wthan it has ever been. Although our name has changed, the essential life and purpose of the school remains the same. Our basic principles and standards are exactly what they have been for over 75 years. The Theatre School is a conservatory, a strong part of a vital urban University, and we operate with professional concentrations on the development of artists for the theatre and related professions. Further information about The Theatre School is available via the internet at The School's web site, located at http://theatreschool.depaul.edu.

GRADUATE STUDY IN THE THEATRE SCHOOL The MFA Programs are designed for the student who has had considerable experience at the undergraduate level, the student seeking additional training as a consequence of prior professional work, or the student whose life experience and professional potential meet the qualifications for advanced training. The goals of the training are accomplished by an intense and eclectic process that combines classroom work with a variety of production experiences that:

• Help the student find a way of working that is effective and unique to his or her talent.

2 • Aid the student in integrating his or her individual work into the collaborative demands of production experiences. • Equip the student with the skills and released imagination necessary for the highly competitive theatre professions.

FACILITIES he Theatre School buildings are located at 2130 and 2135 North Kenmore Avenue on DePaul’s Lincoln Park Campus. In addition to housing most Theatre School classes, the T buildings provide rehearsal rooms, design studios, shop facilities, script library, sound design studio, CAD lab, computer lab, and faculty and staff offices. The buildings are minutes from downtown Chicago by elevated train, bus or car. DePaul‘s historic Merle Reskin Theatre, built in 1910 and formerly called the Blackstone Theatre, was purchased from the Shubert Organization in 1988 and renamed for a major donor in 1992. It provides The Theatre School with a professional-standard, state-of-the-art theatre facility to match the professional standards of the school’s training and productions. The public productions of The Theatre School Showcase and Chicago Play works are fully realized at the Merle Reskin Theatre. Students begin their training as part of the backstage and house crew, allowing them hands-on experience in all components of the theatre profession. The theatre is also shared with several not-for-profit arts organizations in Chicago and an occasional feature film company, exposing Theatre School students to a broader view of the entertainment industry. The DePaul Merle Reskin Theatre is located in the South Loop in the heart of the city. The Theatre School transports students via bus between the school and the theatre for performances. For the past several seasons the school has been producing the new director's series and several workshop productions in off-Loop theatres such as the Victory Gardens Studio Theatre and the Athenaeum Studio Four so as to connect the work and the students more directly to the theatres themselves and their audience base. The Theatre School is situated in the center of Chicago’s world renowned theatre community. Neighboring theatre and performing arts companies include the Steppenwolf Theatre, Victory Gardens Theater, Royal George Theatre, Apollo Theatre Center, and the Theatre Building.

FACULTY AND STAFF In keeping with the school’s concept of the dual importance of theory and practice and of producing a superior quality of instruction, The Theatre School’s faculty and staff are highly qualified, both professionally and academically. The faculty is regularly, supplemented by accomplished working professionals. In addition, visiting artists and professionals appear in our guest speaker series, CHICAGO LIVE: THE ARTS. Among them have been playwright David Mamet; actresses Celeste Holm, Florence Henderson, and Julie Harris; actors Rip Torn, Charles Durning, Ray Liotta, Jonathan Pryce, Brian Dennehy, and Laurence Fishburne; Chicago’s nationally known Steppenwolf Ensemble including John Malkovich, Jeff Perry, and Gary Sinise; the late comedian Avery Schrieber; director JoAnne Akalaitis, Anne Bogart, and Paul Sills; and alumni Gillian Anderson, Joe Mantegna, John C. Reilly, and Kevin Anderson, among scores of others. In addition, master classes have recently been conducted by Oscar-winners Faye Dunaway and F. Murray Abraham.

In keeping with the school’s concept of the dual importance of theory and practice and of producing a superior quality of instruction, The Theatre School’s faculty and staff are highly qualified, both professionally and academically. The faculty is regularly, supplemented by accomplished working professionals. In addition, visiting artists and professionals appear in our guest speaker series, CHICAGO LIVE: THE ARTS. Among them have been playwright David Mamet; actresses Celeste Holm, Florence Henderson, and Julie Harris; actors Rip Torn, Charles Durning, Ray Liotta, Jonathan Pryce, Brian Dennehy, and Laurence Fishburne; Chicago’s nationally known Steppenwolf Ensemble including John Malkovich, Jeff Perry, and Gary Sinise; the late comedian Avery Schrieber; director JoAnne Akalaitis, Anne Bogart, and Paul Sills; and alumni Gillian Anderson, Joe Mantegna, John C. Reilly, and Kevin Anderson, among scores of others. In addition, master classes have recently been conducted by Oscar-winners Faye Dunaway and F. Murray Abraham.

3

THEATRE SCHOOL 255 CAMILLE ANDERSON, J.D. Assistant Director of Alumni Relation Valparaiso University JEFF BAUER, M.F.A., Scene Design Northwestern University JASON BECK, B.F.A., Director of Admissions The Theatre School, DePaul DOUG BIZER Drawing JOHN BRIDGES, M.A. Director of Administration and Assistant Dean Western Illinois University BARRY BRUNETTI, M.F.A. Theatre Studies Academic Assistant to the Associate Dean The Theatre School, DePaul LENORA INEZ BROWN, M.F.A. Dramaturgy/Criticism Yale School of Drama LINDA BUCHANAN, M.F.A., Scenic Design Northwestern University DEXTER BULLARD, M.F.A. Acting Northwestern University BILL BURNETT, M.F.A., Voice and Speech Ohio University STEVEN CARELLI, M.F.A. Drawing Northwestern University GREG CHAVEZ, B.A. Assistant Director of Technical Operations Whittier College SAMANTHA CHAVIS, B.A. Admissions Assistant University of Iowa NAN CIBULA-JENKINS, M.F.A. Costume Design Yale University SO HUI CHONG, B.F.A. Stitcher School of the Art Institute BENJAMIN COHEN, B.F.A. Technical Assistant, Reskin Theatre The Theatre School, DePaul MAURY COLLINS, M.B.A., Theater Studies American University DEAN CORRIN, M.F.A., Playwriting Ohio University TESSA CRAIB-COX Director of Development

4 JOHN CULBERT, M.F.A., Dean New York University LYDIA DIAMOND Playwriting PATRICE EGLESTON, M.F.A., Movement Southern Methodist University MARK ELLIOTT, M.F.A. Musical Theatre San Diego State University DEYA FRIEDMAN, Stage Management HENRY GODINEZ, M.F.A. Acting University of Wisconsin-Milwaukee LARA GOETSCH, B.S. Director of Marketing and Public Relations Northwestern University ANASTASIA GONZALEZ Budget Manager/Administrative Assistant to the Dean KELLY ANN GRAY Administrative Assistant PHYLLIS E. GRIFFIN, M.F.A., Voice and Speech Goodman School of Drama GABRIEL HALPERN, M.A., Movement Goddard College BETSY HAMILTON, B.F.A., Movement University of Texas CAMERON HENNEKE Operations Manager CHRIS HOFMANN, B.A., Director of Technical Operations Adams State College JOSH HORVATH, B.F.A. Sound Design and Technology Wright State University DONALD W. ILKO, PH.D., Acting and Theatre Studies Case Western Reserve University BELLA ITKIN, PH.D., Professor Emeritus Case Western Reserve University JOHN JENKINS, B.A., Movement Pittsburgh State University JACKIE JOHNSON Publicity/Box Office Manager Barat Campus LINDA JONES, M.A., Group Sales Rep Merle Reskin Theatre University of Illinois-Springfield CHRIS JONES, PH.D. Associate Dean Theatre Studies

5 KARIN KOPISCHKE, B.A., B.M., Costume Design Lawrence University TRUDIE KESSLER, M.F.A., Voice and Speech University of California, Irvine ROB KOVARIK, M.F.A. Technical Director Yale School of Drama JENNY LAIRD, M.F.A. Playwriting University of Nevada, Las Vegas DINA LINDENBERG Alumni Relations and Networks TODD LAUTERBACH, B.S. Box Office Manager Syracuse University JANET LOUER, M.A., Audition Columbia College SCOTT MACDONALD, B.A. Executive Assistant to the Dean New York University JACK MAGAW Design/Tech DAWN G. MCKESEY, Assistant Manager, Costume Shop KAREN MCKIE, B.S. Marketing/PR Associate James Madison University JANET C. MESSMER, M.A., Costumiere University of Illinois COLIN MILROY PeopleSoft Subject Matter Expert SUE MOEHLMANN Costume Shop Supervisor Barat Campus DANIEL MOSER, PH.D. Theatre Studies Northwestern University KIMOSHA MURPHY, M.A., Movement Southern Illinois University PATRICK MURPHY, M.A., Acting University of Washington CARLOS MURILLO Playwriting RAY NARDELLI Sound Design and Technology DAVID NAUNTON Sound Design and Technology JULIA NEARY, B.F.A., Movement The Theatre School, DePaul JOSEPH NIEMINSKI, B.F.A., Scene Design Goodman School of Drama

6 JAMES OSTHOLTHOFF, M.F.A., Acting and Directing Goodman School of Drama MICHELLE PERRY, B.F.A. Production Coordinator The Theatre School, DePaul LISA PORTES, M.F.A. Acting/Directing University of California-San Diego GERARD PRENDERGAST, B.F.A. Camera Technique Goodman School of Drama NICHOLAS SANDYS PULLIN, M.A., Stage Combat Cambridge University JENNIFER L. RANDS, M.A. Box Office Manager Indiana State University GERALD REYNOLDS, Scene Shop Foreman LESLIE RILEY, B.A. Movement School of the Art Institute of Chicago CLIFTON D. ROBINSON, Master Drummer/West African Dance TODD ROSENTHAL, M.F.A., Scene Design Yale School of Drama MICHAEL ROURKE, M.F.A., Lighting Design University of Virginia NANCY CAROL RUBY, M.F.A., Acting The Theatre School, DePaul ROCHE SCHULFER Theatre Studies LESLIE SHOOK, M.A. Theatre Manager University of Illinois RACHEL SHTEIR, D.F.A Dramaturgy/Criticism Yale School of Drama RACHEL SLAVICK, M.F.A. Acting The Theatre School, DePaul JOSEPH SLOWIK, M.F.A. Professor Emeritus, Acting, Directing Goodman School of Drama WAYNE SMITH, B.F.A. Property Master and Assistant Technical and Safety Officer University of Illinois, Urbana ERIC T. STYLES, B.F.A. Playworks House Manager University of Cincinnati KRISTINE THATCHER Playwriting RICK TROXEL, M.S. Movement Ball State University

7 ALDEN VASQUEZ, Stage Management ANN WAKEFIELD, M.A. Acting Nantes University LAURA WHITLOCK, B.A., Costume Technology University of Northern Iowa JULIET WILSON, B.A. Showcase House Manager University of Wisconsin FRANK WUKITSCH, M.F.A., Technology Production Management LARRY YANDO, M.F.A. Acting The Theatre School, DePaul University NAN ZABRISKIE, M.F.A., Make-up University of Minnesota DEXTER ZOLLICOFFER, M.F.A. Student of Color Mentor The Theatre School, DePaul

PROGRAMS OF STUDY The Theatre School offers programs leading to the Master of Fine Arts degree in the areas of acting and directing. The minimum quarter hour requirements vary from program to program. All programs require a three-year course of study.

ADMISSION The first charter of DePaul University included a statement on nondiscrimination and the policy has been enforced vigorously for 100 years. Students, faculty and the public are entitled to equal treatment regardless of race, creed or color. It is the policy of The Theatre School to make admission decisions without regard to the race, color, religion, age, gender, sexual orientation, national origin or handicap of the candidate. Admission to the Master of Fine Arts degree programs is based on evidence of ability to be successful in graduate study. Specific requirements include: • Completion of an undergraduate degree (as evidenced by official transcripts). • Completion of graduate application materials. • Three letters of recommendation. • Demonstration of special competence in the major area through an audition or portfolio review and interview.

8

CURRICULUM

AUDITIONS FOR CANDIDATES IN ACTING AND DIRECTING

ACTING Our auditions place special emphasis on the applicant’s potential for future growth. We believe that imagination, personal initiative, self-discipline, stamina, seriousness of commitment to the acting profession and trainability are fundamental. By trainability, we mean that we attempt to judge the applicant’s potential for growth. We believe that this potential can be assessed by evaluating how the student reveals inner resources through the work. We look for the student’s ability to focus personal energies in a relaxed manner which will enhance communication of the conflict the character faces in the context of the play. Students who get trapped in “characterization” or “style” tend to demonstrate their level of virtuosity rather than tapping their deeper, inner resources. You are urged to select material for which you are temperamentally suited; preferably something in which you might conceivably be cast now or in the near future. Avoid material which causes you to disguise yourself or “put on” a character. You are asked to prepare two short contrasting pieces of two minutes each, one contemporary and one Shakespeare. The pieces selected should be from plays. Recital of poetry or cuttings from short stories are not acceptable. Concentration and a sincere interest in your pieces are important. During your audition, keep your attention on what you are doing rather than on the effect you are having on the audition committee. You should be prepared to spend 3 to 4 hours at the audition. The first half of the audition will be with a group and will entail physical and vocal activity. Please dress accordingly. The second part of the audition is when you will present your prepared pieces to the audition committee. You will be alone with the committee at that point and a 4-minute limit will be imposed (two minutes per monologue).

DIRECTING In addition to the audition process outlined above, directing students interview with faculty in the directing program and present a directorial analysis of a play previously assigned by the program head. Please contact The Theatre School’s admissions office for the titles of plays for analysis this year.

PROCEDURES FOR ADMISSION Applicants for admission should obtain an application by writing, calling or e-mailing the Director of Admissions, The Theatre School, 2135 N. Kenmore Avenue, Chicago, Illinois 60614- 4111, (773) 325-7999. Outside Illinois, you may call toll free: 1-800-4DEPAUL, extension 7999. E-mail is: [email protected]. Once the completed application, a photograph, a resume, three letters of recommendation, and official transcripts of undergraduate credit are on file, an audition or interview may be scheduled by contacting the admissions office. There is a $10.00 audition fee and a $25.00 application fee. The student will be informed of his/her decision status in March. Applicants are accepted for the Autumn quarter only. THE THEATRE SCHOOL 257

RESIDENCE REQUIREMENTS FOR THE MASTER OF FINE ARTS DEGREE All courses for the Master of Fine Arts degree must be taken at DePaul University. Graduate credit for courses completed at other institutions may not be applied toward the degree, though in some exceptional cases they may be used as a foundation for advanced placement in the design areas only.

9 Candidates must complete nine quarters of a three year course of study. Each course of study is sequential and begins in the Autumn quarter only. While it is possible for a student to apply for a leave of absence for one year between two given years of study (i.e., between the second and third year, first and second year), it is never possible to skip one quarter within a single year. All requirements for the degree must be completed within eight calendar years from the time a student is admitted to the degree program. For special students removing deficiencies, this period will begin when all deficiencies are removed and admission to the MFA degree program has been formally granted.

TERMINAL REQUIREMENTS FOR THE MASTER OF FINE ARTS DEGREE In addition to completing the graduate requirements of the major program, each student must complete two or three terminal requirements:

1. All graduate students must complete the three-quarter Graduate Seminar sequence with a grade of B- or better in each quarter. 2. For actors, three analytical/reflective papers, each a minimum of 10 pages in length, that in total comprise the graduate thesis. 3. For directors and designers, a graduate thesis project.

GRADES AND RETENTION Graduate students are expected to maintain a higher level of academic achievement than undergraduate students. The basic grade of C+, or C will be acceptable in no more than half the graduate courses required in the major field. (See page 271 for grade information.) Students in all programs of the school are evaluated annually by the faculty. The evaluation, a professional and confidential process, is based on three key elements: growth in the chosen field, professional discipline, and professional potential. Students continue their program of study in the following year by invitation of the faculty as conveyed by the dean. The school's policies about admission, retention, evaluations of students, invitations to return, and related matters are defined in the Student Handbook (available through The Theatre School web site at http://theatreschool.depaul.edu). THE THEATRE SCHOOL 258

MAJOR FIELD REQUIREMENTS

I. MFA IN ACTING

FIRST YEAR Acting I: 511, 512, 513 Voice and Speech I: 531, 532, 533 Speech: 599 Movement I: 521, 522, 523 Graduate Seminar: 601, 602, 603 Rehearsal and Performance: 563 New Play Workshop: 418 or 419 : 551, 552, 553

SECOND YEAR Acting II: 611, 612, 613

10 Voice and Speech II: 631, 632, 633 Movement II: 621, 622, 623 Stage Combat: 580 Technique: 617, 618, 619 Rehearsal and Performance: 661, 662, 663

THIRD YEAR Acting III: 711, 712 or 712, 713 Ensemble: 411, 412 or 412, 413 Voice and Speech III: 731 (required), 732 (elective) Movement III: 721, 723 Improvisation: 590 Acting for the Camera: 720 Audition: 414, 415 Optional Elective: 733 Voiceover Rehearsal and Performance: 761, 762, 763 Graduate Showcase: 416

II. MFA IN DIRECTING

FIRST YEAR Directing I: 581, 582, 583 Survey: Art, Architecture, Fashion and Furniture: 381, 382, 383 Acting I: 511, 512, 513 Rehearsal and Performance: 561 or 562, 563 Dramaturgy I: 234, 235, 236

SECOND YEAR Directing II: 681, 682, 683 Theatrical Collaboration: 641, 642, 643 The Director and the Acting Process 614, 615, 616 Graduate Seminar: 601, 602, 603 Rehearsal and Performance: 661, 662, 663

THIRD YEAR Thesis Project: 781, 782, 783 Theatre Elective or Independent Study: 599, 599, 599 Rehearsal and Performance and/or Internship: 761, 762, 763 New Play Workshop: 418, 419 THE THEATRE SCHOOL

11 259

CURRENT COURSES Please visit Campus Connection at https://campusconnect.depaul.edu for current course information. If you do not have a password for Campus Connection you may log on as a guest. Once you are on Campus Connection please select course descriptions followed by the department.

12